Translated by Lucia Graves 8 страница

'Something like that.'

'For the radio? Oh, how lovely. Well, it doesn't surprise me, you know. As a child he used to tell stories to the local kids. In the summer sometimes my Isabelita and her cousins would go up to the roof terrace at night and listen to him. They said he never told the same story twice. But it's true that they were all about dead people and ghosts. As I say, he was a bit of an odd child. Although, with a father like that, the odd thing was that he wasn't completely nuts. I'm not surprised that his wife left him in the end, because he was a nasty piece of work. Listen: I never meddle in people's affairs, everything's fine by me, but that man wasn't a good person. In a block of apartments nothing's secret in the end. He beat her, you know? You always heard screams coming from their apartment, and more than once the police had to come round. I can understand that sometimes a husband has to beat his wife to get her to respect him, I'm not saying they shouldn't; there's a lot of tarts about, and young girls are not brought up the way they used to be. But this one, well, he liked to beat her for the hell of it, if you see what I mean. The only friend that poor woman had was a young girl, Vicenteta, who lived in 4-2. Sometimes the poor woman would take shelter in Vicenteta's apartment, to get away from her husband's beatings. And she told her things....'

'What sort of things?'

The caretaker took on a confidential manner, raising an eyebrow and glancing sideways right and left. 'Like the boy wasn't the hatter's.'

'Julian? Do you mean to say Julian wasn't Fortuny's son?'

'That's what the Frenchwoman told Vicenteta, I don't know whether it was out of spite or heaven knows why. The girl told me years later, when they didn't live here anymore.'

'So who was Julian's real father?'

'The Frenchwoman never said. Perhaps she didn't even know. You know what foreigners are like.'

'And do you think that's why her husband beat her?'

'Goodness knows. Three times they had to take her to hospital. Three times. And the swine had the nerve to tell everyone that she was the one to blame, that she was a drunk and was always falling about the house from drinking so much. But I don't believe that. He quarrelled with all the neighbours. Once he even went to the police to report my late husband, God rest his soul, for stealing from his shop. As far as he was concerned, anyone from the south was a layabout and a thief, the Pig-'

'Did you say you recognized the girl who is next to Julian in the photograph?'

The caretaker concentrated on the image once again. 'Never seen her before. Very pretty.'

'From the picture it looks like they were a couple,' I suggested, trying to jog her memory.

She handed it back to me, shaking her head. 'I don't know anything about photographs. As far as I know, Julian never had a girlfriend, but I imagine that if he did, he wouldn't have told me. It was hard enough finding out that my Isabelita had got involved with that fellow.... You young people never say anything. And us old folks don't know how to stop talking.'

'Do you remember his friends, anyone special who came round here?'

The caretaker shrugged her shoulders. 'Well, it was such a long time ago. Besides, in the last years Julian was hardly ever here, you see. He'd made a friend at school, a boy from a very good family, the Aldayas -now, that's saying something. Nobody talks about them now, but in those days it was like mentioning the royal family. Lots of money. I know because sometimes they would send a car to fetch Julian. You should have seen that car. Not even Franco would have one like it. With a chauffeur, and all shiny. My Paco, who knew about cars, told me it was a rolsroi, or something like that. Fit for an emperor.'

'Do you remember the friend's first name?'

'Listen, with a surname like Aldaya, there's no need for first names. I also remember another boy, a bit of a scatterbrain, called Miquel. I think he was also a classmate. But don't ask me for his surname or what he looked like.'

We seemed to have reached a dead end, and I feared that the caretaker would start losing interest. I decided to follow a hunch. 'Is anyone living in the Fortuny apartment now?'

'No. The old man died without leaving a will, and his wife, as far as I know, is still in Buenos Aires and didn't even come back for the funeral. Can't blame her.'

'Why Buenos Aires?'

'Because she couldn't find anywhere further away, I guess. She left everything in the hands of a lawyer, a very strange man. I've never seen him, but my daughter Isabelita, who lives on the fifth floor, right underneath, says that sometimes, since he has the key, he comes at night and spends hours walking around the apartment and then leaves. Once she said that she could even hear what sounded like women's high heels. What can I say...?'

'Maybe they were stilts,' I suggested.

She looked at me blankly. Obviously this was a serious subject for the caretaker.

'And nobody else has visited the apartment in all these years?'

'Once this very creepy individual came along, one of those people who never stop smiling, a giggler, but you could see him coming a mile off. He said he was in the Crime Squad. He wanted to see the apartment.'

'Did he say why?'

The caretaker shook her head.

'Do you remember his name?'

'Inspector something or other. I didn't even believe he was a policeman. The whole thing stank, do you know what I mean? It smelled of something personal. I sent him packing and told him I didn't have the keys to the apartment and if he wanted anything, he should call the lawyer. He said he'd come back, but I haven't seem him round here again. Good riddance.'

'You wouldn't by any chance have the name and address of the lawyer, would you?'

'You should ask the manager of this building, Senor Molins. His office is quite close, number twenty-eight, Floridablanca, first floor. Tell him I sent you - Senora Aurora, at your service.'

'I'm very grateful. So, tell me, Dona Aurora, is the Fortuny apartment empty, then?'

'No, not empty, because nobody has taken anything from it in all the years since the old man died. Sometimes it even smells. I'd say there are rats in the apartment, mark my words.'

'Do you think it would be possible to have a look? We might find something that tells us what really happened to Julian.

'Oh no, I couldn't do that. You must talk to Senor Molins, he's the one in charge.'

I smiled at her mischievously. 'But you must have a master key, I imagine. Even if you told that man you didn't... Don't tell me you're not dying to see what's in there.'

Dona Aurora looked at me out of the corner of her eye.

'You're a devil.'

The door gave way like a tombstone, with a sudden groan, exhaling dank, foul-smelling air. I pushed the front door inwards, discovering a corridor that sank into darkness. The place was stuffy and reeked of damp. Spiralling threads of grime and dust hung from the ceiling like white hair. The broken floor tiles were covered by what looked like a layer of ash. I also noticed what appeared to be footprints making their way into the apartment.

'Holy Mother of God!' mumbled the caretaker. 'There's more shit here than on the floor of a henhouse.'

'If you'd rather, I'll go in on my own,' I said.

'That's exactly what you'd like. Come on, you go ahead, I'll follow.'

We closed the door behind us and waited by the entrance for a moment until our eyes became accustomed to the dark. I could hear the nervous breathing of the caretaker and noticed the sour smell of her sweat. I felt like a tomb robber whose soul is poisoned by greed and desire.

'Hey, what's that noise?' asked the caretaker in an anxious tone. Something fluttered in the dark, disturbed by our presence. I thought I glimpsed a pale shape flickering about at the end of the corridor.

'Pigeons,' I said. 'They must have got in through a broken window and made a nest here.'

'Those ugly birds give me the creeps,' said the caretaker. 'And they shit like there's no tomorrow.'

'Relax, Dona Aurora, they only attack when they're hungry.'

We ventured in a few steps till we reached the end of the corridor, where a dining room opened onto the balcony. Just visible was a shabby table covered with a tattered tablecloth that looked more like a shroud. Four chairs held a wake, together with a couple of grimy glass cabinets that guarded the crockery: an assortment of glasses and a tea set. In a corner stood the old upright piano that had belonged to Carax's mother. The keys were dark with dirt, and the joins could hardly be seen under the film of dust. An armchair with a long, threadbare cover was slowly disintegrating next to the balcony. Beside it was a coffee table on which rested a pair of reading glasses and a Bible bound in pale leather and edged with gold, of the sort that used to be given as presents for a child's first communion. It still had its bookmark, a piece of scarlet string.

'Look, that chair is where the old man was found dead. The doctor said he'd been there for two days. How sad to go like that, like a dog, all alone. Not that he didn't have it coming, but even so...'

I went up to the chair where Fortuny had died. Next to the Bible was a small box containing black-and-white photographs, old studio portraits. I knelt down to examine them, almost afraid to touch them. I felt as if I was profaning the memories of a poor old man, but my curiosity got the better of me. The first print showed a young couple with a boy who could not have been more than four years old. I recognized him by his eyes.

'Look, there they are. Senor Fortuny as a young man, and her...'

'Didn't Julian have any brothers or sisters?'

The caretaker shrugged her shoulders and let out a sigh. 'I heard rumours that she miscarried once because of the beatings her husband gave her, but I don't know. People love to gossip, don't they? But not me. All I know is that once Julian told the other kids in the building that he had a sister only he could see. He said she came out of mirrors as if she were made of thin air and that she lived with Satan himself in a palace at the bottom of a lake. My Isabelita had nightmares for a whole month. That child could be really morbid at times.'

I glanced at the kitchen. There was a broken pane in a small window overlooking an inner courtyard, and you could hear the nervous and hostile flapping of the pigeons' wings on the other side.

'Do all the apartments have the same layout?' I asked.

'The ones that look onto the street do. But this one is an attic, so it's a bit different. There's the kitchen and a laundry room that overlooks the inner yard. Down this corridor there are three bedrooms, and a bathroom at the end. Properly decorated, they can look very nice, believe me. This one is similar to my Isabella's apartment - but of course right now it looks like a tomb.'

'Do you know which room Julian's was?'

'The first door is the master bedroom. The second is a smaller room. It was probably that one, I'd say.'

I went down the corridor. The paint on the walls was falling off in shreds. At the end of the passage, the bathroom door was ajar. A face seemed to stare at me from the mirror. It could have been mine, or perhaps the face of the sister who lived there. As I got closer, it withdrew into darkness. I tried to open the second door.

'It's locked,' I said.

The caretaker looked at me in astonishment. 'These doors don't have locks,' she said.

'This one does.'

'Then the old man must have had it put in, because all the other apartments

I looked down and noticed that the footprints in the dust led up to the locked door. 'Someone's been in this room,' I said. 'Recently.'

'Don't scare me,' said the caretaker.

I went up to the other door. It didn't have a lock. It opened with a rusty groan when I touched it. In the middle stood an old four-poster bed, unmade. The sheets had turned yellowish, like winding sheets, and a crucifix presided over the bed. The room also contained a chest of drawers with a small mirror on it, a basin, a pitcher, and a chair. A cupboard, its door ajar, stood against the wall. I went around the bed to a bedside table with a glass top, under which lay photographs of ancestors, funeral cards, and lottery tickets. On the table were a carved wooden music box and a pocket watch, frozen forever at twenty past five. I tried to wind up the music box, but the melody got stuck after six notes. When I opened the drawer of the bedside table, I found an empty spectacle case, a nail clipper, a hip flask, and a medal of the Virgin of Lourdes. Nothing else.

'There must be a key to that room somewhere,' I said.

'The manager must have it. Look, I think it's best we leave.'

Suddenly I looked down at the music box. I lifted the cover and there, blocking the mechanism, I found a gold key. I took it out, and the music box resumed its tinkling melody. I recognized a tune by Ravel.

'This must be the key.' I smiled at the caretaker.

'Listen, if the room was locked, there must be a reason. Even if it's just out of respect for the memory of—'

'If you'd rather, you can wait for me down in your apartment, Dona Aurora.'

'You're a devil. Go on. Open up if you must.'

A breath of cold air whistled through the hole in the lock, licking at my fingers while I inserted the key. The lock that Senor Fortuny had fitted in the door of his son's unoccupied room was three times the size of the one on the front door. Dona Aurora looked at me apprehensively, as if we were about to open a Pandora's box.

'Is this room at the front of the house?' I asked.

The caretaker shook her head. 'It has a small window, for ventilation. It looks out over the yard.'

I pushed the door inward. An impenetrable well of darkness opened up before us, the meagre light from behind barely scratching at the shadows. The window overlooking the yard was covered with pages of yellowed newspaper. I tore them off, and a needle of hazy light bored through the darkness.

'Jesus, Mary, and Joseph,' murmured the caretaker.

The room was infested with crucifixes. They hung from the ceiling, dangling from the ends of strings, and they covered the walls, hooked on nails. There were dozens of them. You could sense them in every corner, carved with a knife on the wooden furniture, scratched on the floor tiles, painted red on the mirrors. The footprints that had led us to the doorway could now be traced on the dust around the naked bed, just a skeleton of wires and worm-eaten wood. At one end of the room, under the window, stood a closed roll top desk, crowned by a trio of metal crucifixes. I opened it with care. There was no dust in the joins of the wooden slats, from which I inferred that the desk had been opened quite recently. It had six drawers. The locks had been forced open. I inspected them one by one. Empty.

I knelt down by the desk and fingered the scratches that covered the wood, imagining Julian Carax's hands making those doodles, hieroglyphics whose meaning had been obscured by time. In the desk, I noticed a pile of notebooks and a vase filled with pencils and pens. I took one of the notebooks and glanced at it. Drawings and single words. Mathematical exercises. Unconnected phrases, quotes from books. Unfinished poems. All the notebooks looked the same. Some drawings were repeated page after page, with slight variations. I was struck by the figure of a man who seemed to be made of flames. Another might have been an angel or a reptile coiled around a cross. Rough sketches hinted at a fantastic rambling house, woven with towers and cathedral-like arches. The strokes were confident and showed a certain ability. Young Carax appeared to be a draftsman of some promise, but none of the drawings were more than rough sketches.

I was about to put the last notebook back in its place without looking at it when something slipped out from its pages and fell at my feet. It was a photograph in which I recognized the same girl who appeared in the other picture - the one taken at the foot of that building. The girl posed in a luxurious garden, and beyond the treetops, just visible, was the shape of the house I had seen sketched in the drawings of the adolescent Carax. I recognized it immediately. It was the villa called The White Friar, on Avenida del Tibidabo. On the back of the photograph was an inscription that simply said:

Penelope, who loves you

I put it in my pocket, closed the desk, and smiled at the caretaker.

'Seen enough?' she asked, anxious to leave the place.

'Almost,' I replied. 'Before, you said that soon after Julian left for Paris, a letter came for him, but his father told you to throw it away.

The caretaker hesitated for a moment, and then she nodded. 'I put the letter in the drawer of the cabinet in the entrance hall, in case the Frenchwoman should come back one day. It must still be there.'

We went down to the cabinet and opened the top drawer. An ochre-coloured envelope lay on top of a collection of stopped watches, buttons, and coins that had ceased being legal tender twenty years ago. I picked up the envelope and examined it.

'Did you read it?'

'What do you take me for?'

'I meant no offence. It would have been quite natural, under the circumstances, if you thought that Julian was dead....'

The caretaker shrugged, looked down, and started walking towards the door. I took advantage of that moment to put the letter in the inside pocket of my jacket.

'Look, I don't want you to get the wrong impression,' said the caretaker.

'Of course not. What did the letter say?'

'It was a love letter. Like the stories on the radio, only sadder, you know, because it sounded as if it were really true. Believe me, I felt like crying when I read it.'

'You're all heart, Dona Aurora.'

'And you're a devil.'

That same afternoon, after saying goodbye to Dona Aurora and promising that I would keep her up to date with my investigations on Julian Carax, I went along to see the manager of the apartment block. Senor Molins had seen better days and now mouldered away in a filthy first-floor office on Calle Floridablanca. Still, Molins was a cheerful and self-satisfied individual. His mouth was glued to a half-smoked cigar that seemed to grow out of his moustache. It was hard to tell whether he was asleep or awake, because he breathed like most people snore. His hair was greasy and flattened over his forehead, and he had mischievous piggy eyes. His suit wouldn't have fetched more than ten pesetas in the Encantes Flea Market, but he made up for it with a gaudy tie of tropical colours. Judging by the appearance of the office, not much was managed anymore, except the bugs and cobwebs of a forgotten Barcelona.

'We're in the middle of refurbishment,' he said apologetically.

To break the ice, I let drop Dona Aurora's name as if I were referring to some old friend of the family.

'When she was young, she was a real looker,' was Molins's comment. 'With age she's gone on the heavier side, but then I'm not what I used to be either. You may not believe this, but when I was your age, I was an Adonis. Girls would go on their knees to beg for a quickie, or to have my babies. Alas, the twentieth century is nothing but shit. What can I do for you, young man?'

I presented him with a more or less plausible story about a supposed distant relationship with the Fortunys. After five minutes' chatter, Molins dragged himself to his filing cabinet and gave me the address of the lawyer who dealt with anything related to Sophie Carax, Julian's mother.

'Let me see... Jose Maria Requejo. Fifty-nine, Calle Leon XIII. But we send the mail twice a year to a PO box in the main post office on Via Layetana.'

'Do you know Senor Requejo?'

'I've spoken to his secretary occasionally on the telephone. The fact is that any business with him is done by post, and my secretary deals with that. And today she's at the hairdresser's. Lawyers don't have time for face-to-face dealings anymore. There are no gentlemen left in the profession.'

There didn't seem to be any reliable addresses left either. A quick glance at the street guide on the manager's desk confirmed what I suspected: the address of the supposed lawyer, Senor Requejo, didn't exist. I told Mr Molins, who took the news in as if it were a joke.

'Well, I'll be damned!' he said laughing. 'What did I say? Crooks.'

The manager lay back in his chair and made another of his snoring noises.

'Would you happen to have the number of that PO Box?'

'According to the index card it's 2837, although I can't read my secretary's numbers. As I'm sure you know, women are no good at maths. What they're good for is—'

'May I see the card?'

'Sure. Help yourself.'

He handed me the index card, and I looked at it. The numbers were perfectly legible. The PO box was 2321. It horrified me to think of the accounting that must have gone on in that office.

'Did you have much contact with Senor Fortuny during his lifetime?' I asked.

'So so. Quite the ascetic type. I remember that when I found out that the Frenchwoman had left him, I invited him to go whoring with a few mates of mine, nearby, in a fabulous establishment I know next to the La Paloma dance hall. Just to cheer him up, eh? That's all. And you know what? He would not talk to me, even greet me in the street anymore, as if I were invisible. What do you make of that?'

'I'm in shock. What else can you tell me about the Fortuny family? Do you remember them well?'

'Those were different times,' he murmured nostalgically. 'The fact is that I already knew Grandfather Fortuny, the one who started the hat shop. About the son, there isn't much to tell. Now, the wife, she was spectacular. What a woman. And decent too. Despite all the rumours and the gossip

'Like the one about Julian's not being Fortuny's legitimate son?'

'And where did you hear that?'

'As I said, I'm part of the family. Everything gets out.'

'None of that was ever proved.'

'But it was talked about,' I said encouragingly.

'People talk too much. Humans aren't descended from monkeys. They come from parrots.'

'And what did people say?'

'Don't you feel like a little glass of rum? It's Cuban, like all the good stuff that kills you.'

'No thanks, but I'll keep you company. In the meantime, you can tell me...'

Antoni Fortuny, whom everyone called the hatter, met Sophie Carax in 1899 by the steps of Barcelona Cathedral. He was returning from making a vow to St Eustace -for of all the saints, St Eustace was considered the most diligent and the least fussy when it came to granting miracles to do with love. Antoni Fortuny, who was already over thirty and a confirmed bachelor, was looking for a wife, and wanted her right away. Sophie was a French girl who lived in a boarding-house for young ladies in Calle Riera Alta and gave private music and piano lessons to the offspring of the most privileged families in Barcelona. She had no family or capital to rely on, only her youth and what musical education she had received from her father - the pianist at a Nimes theatre - before he died of tuberculosis in 1886. Antoni Fortuny, on the contrary, was a man on the road to prosperity. He had recently inherited his father's business, a hat shop of some repute in Ronda de San Antonio, where he had learned the trade that he dreamed one day of teaching his own son. He found Sophie Carax fragile, beautiful, young, docile, and fertile. St Eustace had obliged. After four months of insistent courting, Sophie accepted Antoni s marriage proposal. Senor Molins, who had been a friend of Fortuny the elder, warned Antoni that he was marrying a stranger. He said that Sophie seemed like a nice girl, but perhaps this marriage was a bit too convenient for her, and he should wait a year at least... Antoni Fortuny replied that he already knew everything he needed to know about his future wife. The rest did not interest him. They were married at the Basilica del Pino and spent their three-day honeymoon in a spa in the nearby seaside resort of Mongat. The morning before they left, the hatter asked Senor Molins, in confidence, to be initiated into the mysteries of the bedroom. Molins sarcastically told him to ask his wife. The newlyweds returned to Barcelona after only two days. The neighbours said Sophie was crying when she came into the building. Years later Vicenteta swore that Sophie had told her the following: that the hatter had not laid a finger on her and that when she had tried to seduce him, he had called her a whore and told her he was disgusted by the obscenity of what she was proposing. Six months later Sophie announced to her husband that she was with child. By another man.

Antoni Fortuny had seen his own father hit his mother on countless occasions and did what he thought was the right thing to do. He stopped only when he feared that one more blow would kill her. Despite the beating, Sophie refused to reveal the identity of the child's father. Applying his own logic to the matter, Antoni Fortuny decided that it must be the devil, for that child was the child of sin, and sin had only one father: the Evil One. Convinced in this manner that sin had sneaked into his home and also between his wife's thighs, the hatter took to hanging crucifixes everywhere: on the walls, on the doors of all the rooms, and on the ceiling. When Sophie discovered him scattering crosses in the bedroom to which she had been confined, she grew afraid and, with tears in her eyes, asked him whether he had gone mad. Blind with rage, he turned around and hit her. A whore like the rest,' he spat as he threw her out onto the landing, after flaying her with blows from his belt. The following day, when Antoni Fortuny opened the door of his apartment to go down to the hat shop, Sophie was still there, covered in dried blood and shivering with cold. The doctors never managed to fix the fractures on her right hand completely. Sophie Carax would never be able to play the piano again, but she would give birth to a boy, whom she would name Julian after the father she had lost when she was still too young - as happens with all good things in life. Fortuny considered throwing her out of his home but thought the scandal would not be good for business. Nobody would buy hats from a man known to be a cuckold - the two didn't go together. From then on, Sophie was assigned a dark, cold room at the back of the apartment. It was there she gave birth to her son with the help of two neighbours. Antoni did not return home until three days later. 'This is the son God has given you,' Sophie announced. If you want to punish anyone, punish me, but not an innocent creature. The boy needs a home and a father. My sins are not his. I beg you to take pity on us.'

The first months were difficult for both of them. Antoni Fortuny had downgraded his wife to the rank of servant. They no longer shared a bed or table and rarely exchanged any words except to resolve some domestic matter. Once a month, usually coinciding with the full moon, Antoni Fortuny showed up in Sophie's bedroom at dawn and, without a word, charged at his former wife with vigour but little skill. Making the most of these rare and aggressive moments of intimacy, Sophie tried to win him over by whispering words of love and caressing him. But the hatter was not a man for frivolities, and the eagerness of desire evaporated in a matter of minutes, or even seconds. These assaults brought no children. After a few years, Antoni Fortuny stopped visiting Sophie's chamber for good and took up the habit of reading the Gospels until the small hours, seeking in them a solace for his torment.

Дата добавления: 2015-11-04